The Doâs & Donâts of eating sushi ...
her friend is so embarrassed theyâre never ever having sushi again
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The Doâs & Donâts of eating sushi ...
her friend is so embarrassed theyâre never ever having sushi again
a redraw!
(behind the scenes)
@usagiro
Her OC Cereza x3
Okay so like this is the perfect balance between creepy and unsettling but absolutely adorable. 10/10 would reblog again.
7 Unreliable Narrators to Twist Your Next Plot
Itâs an encouraging thought.
There are more unreliable narrators in literature than we could discuss in a single article. Thatâs great news for you because your options as the all powerful creator of dastardly characters (or âwriterâ if youâre into being humble) just blew wide open.
Here are the best of the infinite to get you started.
The best surprise endings hinge on one thingâthe unreliable narrator. Unreliable narrators come in rainbow varieties. And theyâre the secret weapon behind those memorable plot twists that wow readers and get published.
Whether heâs a skilled liar or just naive, the unreliable narrator doesnât tell the full story. This is the perfect plot twist recipe. Why? Because the key information your unreliable narrator holds back is the same key information youâll unleash on your reader in the big reveal.
Here youâll get seven character types to add to your arsenal. And at the end youâll get tips for creating that subtly deceiving narrator for the twist your reader never saw coming. Mix and match to make it your own. Or feel free to steal what works and make up the rest.
Ready for the lineup? Here we go!
#1: The Self-Preservationist
The self-preservationist is a deliberate liar. He might lie to save his life. He might lie to escape a sticky situation. Either way, his side of the story is suspect. Which means, of course, the whole story is suspect.
Known Self-Preservationist: Verbal Kint, The Usual Suspects. Verbal Kint, the soft-spoken small time criminal, is the only survivor of a boat explosion. During the after-disaster police interrogation, Verbal tells the convoluted story of how he and four fellow criminals ended up on that boat, the victims of legendary crime boss and criminal mastermind Keyser Söze. The story is purely Verbalâs say so which makes it all too easy for it to be a great big lie. The twist? It is. After the police interrogator releases Verbal from custody, he finds an unlikely number of details from Verbalâs story in photos and documents hanging throughout the interrogation room where Verbal spun his tale. Yes, this means his story was a lie. But thatâs not the biggest reveal in this mind-blowing tale. Iâll leave that final detail for your viewing pleasure. Youâre welcome.
What Makes Verbal the Self-Preservationist? The self-preservationist lies to save himself. If Verbal told the truth about how he ended up in the boat explosion, heâd never leave that interrogation room.
Why It Works: In the final scene weâre left wondering if anything Verbal said was true. We realize we know as little about what really happened as the police interrogator does. Youâll want to watch the movie again with the reveal in mind, but it wonât feel like the same movie. Itâs one of the most masterfully pulled off and memorable plot twists.
#2: The Sympathy-Seeker
The sympathy-seeker plays on our emotions. His lies are all about gaining sympathy. He wants us to see him as the good person in his tale. Or, at least, not all bad. Thatâs a great reason to lie. And a greater reason for you to suspect his tale.
Known Sympathy-Seeker: Humbert Humbert, Lolita. Humbert is a middle-aged man obsessed with 12-year-old Lolita. He narrates his story of abduction, coercion, and rape while awaiting trial. He takes us through his remorse, his genuine affection for Lolita, and speculates on the childhood experiences that may have caused his pedophilia. Although his admission of guilt makes it easier to believe the rest of his taleâafter all why lie about anything if heâs so willing to share his ugliest secret?âHumbert wants forgiveness. And that is a reason to lie. We never hear Lolitaâs side of the story. So who really knows whatâs true?
What Makes Humbert the Sympathy-Seeker? Humbert did a brief stint in a mental hospital. That and his attraction to prepubescent girls could qualify him as The Psycho type. The difference is in his motivation for telling his story. Humbert is The Sympathy-Seeker because his desire for sympathy drives his tale.
Why it works: The surprise ending is subtle in Lolita. There is no big reveal on par with The Usual Suspects. Because Lolita is a literary tale rather than a commercial blockbuster, the burden of understanding lies with the reader. As a reader, then, youâll only note how shaky Humbertâs tale really is if you spot that Humbert is an unreliable narrator. That subtlety works in Lolita because Nabokov wants to keep the reader thinking about the story long after sheâs closed the book. But what if youâre going for a show stopping blockbuster plot twist? Draw attention to the lies in the tale for a big reveal instead.
#3: The Insomniac
The insomniac doesnât lie on purpose. The gaps in his tale result from psychic exhaustion. But intentions donât matter when it comes to the big reveal because itâs those gaps that leave room for the twist.
Known Insomniac: âJackâ the unnamed narrator, Fight Club. Jack is an emotionally constipated insomniac. He joins support groups for diseases he doesnât have to get the emotional release he needs to fall sleep. Everything changes when he meets Tyler Durden, a spontaneous moonlighter who is everything our narrator wants to be. Tyler drags Jack into recreational fighting, terrorist activity, and a relationship with an emotionally damaged woman who ultimately helps Jack achieve transcendence. Fight Club is a wild ride from start to finish. And even the most jaded audience members didnât see this plot twist comingâthat Jack and Tyler are really the same man.
What makes Jack the Insomniac? Jackâs insomnia creates lost time or hours Jack canât account for. What was he doing in those hours? The answer is obvious in the big reveal: he was Tyler Durden. Fight Club author, Chuck Palahniuk, pulled this off brilliantly. How? He distracted us before we ever thought to ask the question. The end result is the killer Fight Club plot twist. Every time Jack thought he was zoning out on the couch at night, Tyler was really using their shared body to get into trouble.
Why it works: Sleep deprivation wreaks havoc on the psyche. Itâs not a far leap from insomnia to psychotic break. Insomnia and its side effects affect perception. That vulnerable psyche creates an excellent plot twist device because anything could have happened. That makes it easy for you, the author, to explain what really happened in the big reveal. Presto plot twist.
#4: The Hallucinator
Like The Insomniac, The Hallucinatorâs vulnerable psyche renders his version of events unreliable. But be careful with The Hallucinator. Used without care, this type borders on that âit was all a dreamâ tabooâa major no-no in fiction. But if you foreshadow hallucinatory tendencies in your story, The Hallucinator can help you pull off a powerful plot twist.
Known Hallucinator: Sarah, The Descent. Sarahâs spelunking trip goes wrong when the cave entrance collapses behind her and five companions. If that werenât scary enough, the women uncover a band of flesh-eating cave people who threaten their survival. After Sarah seemingly escapes the cave, we learn that her escape sequence was a hallucination. Turns out sheâs really still in the cave, oblivious to oncoming disaster.
What Makes Sarah the Hallucinator? This one is pretty obvious. Sarah hallucinates her happy ending. The plot twistâthat she never escaped the cave and is about to be devoured by flesh-eating cave peopleâis a direct result of her hallucinations.
Why It Works: Some critics argue that this plot doesnât work. But we canât blame Sarah for that. The story still packs a wallop surprise. Itâs tough to fault someone who hit her head and saw heaven. The Hallucinator still works for plot twists because you canât believe what she says. Donât let the naysayers deter you. Any of the unreliable narrators, if used poorly, can come off as a cheap ploy. Try including hints that your character has experienced hallucinations before. This will keep the it-was-all-a-dream reveal from feeling like an deus ex machina let down.
#5: The Embellisher
Like The Sympathy-Seeker and The Self-Preservationist, The Embellisher lies on purpose. Unlike other narrators, though, everyone likes The Embellisher. Thatâs because The Embellisherâs lies are good natured. Like grandpaâs stories of Paul Bunyan and Johnny Appleseed, we love The Embellisher and his fantastical tales.
But while we may listen intently and love his tales, we canât believe a word he says.
Known Embellisher: Pi, Life of Pi. After a shipwreck at sixteen years old, Piscine Molitor âPiâ Patel is trapped on a lifeboat in the Pacific Ocean with a tiger he calls Richard Parker. Middle-aged Pi relates his survival story with an embellishment of fantastical details, including his growing relationship with the tiger, Richard Parker. Pi told the same tale to the ship company owners after his rescue. The owners donât believe his version of events, though, and further prompting forces Pi to relate the truth. That he witnessed his motherâs murder. That he was alone on that lifeboat in the ocean, not knowing if he would survive. That Richard Parker, the tiger, was really Piâs shadow selfâferal, savage, and afraid.
What Makes Pi the Embellisher? Pi tells a variety of tall tales before the shipwreck story. But that isnât enough. Heâs The Embellisher because the plot twist in Life of Pi hinges on these embellishments.
Why It Works: Many of the embellished elements parallel the storyâs more realistic events, like his motherâs murder. Itâs natural for an imaginative man to deal with trauma the way he deals with lifeâwith his vivid imagination. In this way the psychological elements, and the resulting plot twist, feel true to the character. In other words, the twist works because Pi tells imaginative tales the moment we meet him. Itâs not a surprise when we learn that the main plot is also invented. This foreshadowing prevents the twist from feeling gimmicky.
#6: The Memory-Repressor
The Memory-Repressor lies to himself more than he lies to us. But itâs never on purpose. His experiences are so traumatic heâd rather forget them. Heâs a sympathetic character. So when his memories finally surface for the surprise ending, we just feel for him.
Known Memory Repressor: Charlie, The Perks of Being a Wallflower. Charlie, a new high school freshman, suffers from emotional and psychological issues. His journal entries relate memories of his favorite aunt on the day she died. But itâs clear that something isnât quite right with these memories and Charlieâs associated feelings. In the end, we learn that Charlieâs aunt molested him. Because of his affection for her, Charlie repressed these memories.
What Makes Charlie the Memory-Repressor? We explore Charlieâs memories alongside him. We know only what he knows. But when the repressed memories surface, our view of the story changes alongside Charlieâs. What we thought was the story wasnât. Even without Charlieâs struggle with depression and loss, the nature of the repressed memories alone makes the reveal at the end feel genuine and true to character.
Why It Works: Charlie remembers his aunt during stressful sexual encounters. The association between the two foreshadows the revelation at the end. The Perks of Being a Wallflower author, Stephen Chbosky, also demonstrates Charlieâs psychological turmoil throughout the story. Things like depression and loss hint that something isnât quite right. As readers, weâre waiting for something to be revealed. And this sets us up to accept the revelation. The results are believable because anyone would want to repress such a traumatic memory.
#7: The Psycho
The Psycho doesnât have to be clinically psychotic, but it helps. Want to go subtle with the Psycho? Get loose with the definition. Maybe your characterâs form of psychosis is a simple anxiety disorder, for example. But anxiety can cause her to lose consciousness at a critical moment. Maybe she has PTSD, which distracts her from a critical piece of plot information. Whatever psychological flaw you give her, make sure she misses something that you can reveal in the twist.
Known Psycho: Patrick Bateman, American Psycho. Patrick commits murder after grisly murder between office hours as a Manhattan investment banker. What spurs him to murder? A little envy and a lot of psychotic rage. After a whirlwind bloodbath spree, where Bateman slaughters prostitutes, lovers, homeless men, pets, and police vehicles, he attempts to confess his crimes only to learn that maybe he hasnât committed any at all.
What Makes Patrick Bateman The Psycho? In Batemanâs case, The Psycho title is straightforward. And the foreshadowing? What? Murder isnât enough? Then youâll be pleased the foreshadowing doesnât stop there. Bateman sees things normal people would know werenât real. Like when the ATM machine readout says âfeed me a stray cat,â for example, we start to question the events of the story as Bateman sees them. Did the events really happen or were they just the product of a disturbed mind? What separates Bateman from The Hallucinator is his extensive psychological disturbance. The psychosis that feeds the twist isnât just about his hallucinations. With Patrick Bateman at the helm, a twisted plot is expected. And yet, the possibility that he imagined these murders still comes as a surprise.
Why it Works: Itâs no surprise that Bateman is crazy. Whether he committed the crimes or fantasized about them, murder sprees are not the musings of a healthy man (unless, of course, heâs a writer). His unstable mind makes the twist easy to believe. This story, for all its faults, succeeds because youâre not quite sure which is true at the end.
#8 (Bonus!): The Fool
The fool isnât dumb, but he is naive. His childlike perceptions help him see through the social constraints that color most peopleâs perceptions. He is unblemished by experience or societyâs expectations. He is painfully honest, charming in his authenticity, and doesnât lie just to save face or protect other peopleâs feelings. Heâs an innocent just starting out on his journey, and he lacks the social wisdom of the more experienced.
But his too-honest-and-innocent outlook makes it impossible to trust his version of events because he misses key elements of every situation.
Known Fool: Huck, Adventures of Huckleberry Finn. Huck is an orphan in antebellum Missouri. His abusive alcoholic father kidnaps Huck from his foster family, not for love but to claim Huckâs found fortune. Huckâs father imprisons him in a secluded cabin before trying to stab him to death. But Huck escapes with Jim, a runaway slave. Huck and Jimâs adventures down the Mississippi River give Huck author, Mark Twain, the opportunity to highlight the social problems of Huckâs time, particularly slavery.
What Makes Huck The Fool? Huck is disarmingly naive when it comes to social expectations and norms. He often misses the point and doesnât understand jokes. Mostly this just creates funny situations where the reader gets the joke and Huck doesnât. But his naivety also makes him an unreliable narrator. Because he doesnât always fully understand situations, we canât always trust that his view of things would match ours. Still itâs his naivety and inherently good perspective that makes Huck immune to the rationalizations of slavery. And he makes us think twice about things we take for granted as well.
Why it Works: Like Nabakovâs Lolita above, Mark Twainâs unreliable narrator creates less of a grand finale plot twist than a subtle dramatic irony. When Huck takes horrible poetry seriously. When he questions the apologetic moralizing that attempted to rationalize slavery. When he sacrifices himself for a slave when no one else would. Or when he decides that a heaven in which he canât cuss or smoke is no kind of heaven for him. Huckâs actions and perspective highlight the truly manipulative side of social training. It works because it makes readers think twice about whatâs really going on in the story. And maybe whatâs happening isnât what you think. Again, literature with a capital âLâ focuses less on blockbuster plot twists. But you can still use The Fool to pull off the blockbuster plot twist all the same. How you use your unreliable narrator is up to you.
Try This:
Choose an unreliable narrator from this list. Itâs okay to choose one at random. (Quick! Think of a number between one and eight. What number did you think of? Scroll up and find that number in the list above. Thereâs your character. Easy, right?)
Jot down ten ways that character can hold back key information in your next plot. The stupider the ideas, the better. This is just brainstorming after all. Choose your favorite three ideas from the list and stick them into your draft. Anywhere. First drafts are supposed to look like this, I promise.
Jot down ten ways you could demonstrate or foreshadow that your unreliable narrator is unreliable. Use that list to foreshadow your narratorâs unreliability. Then use these ideas to hide key information. Foreshadow your heart out. And once you have your Frankenstein novel, with ugly bits sticking out here and there, smooth it out with a revision. This writing stuff is easy (says a possibly unreliable narrator. Dun-dun-duuuuuuuun!).
I hope this helped! If you haven any questions or just want to talk, feel free to visit my ask box!!!
YAS. Unreliable narrators are the best!
what? you think iâm just gonna stand there and take it?
Dashboard Dead ASF
Hey all, Iâm really looking to expand my connections on Tumblr. Right now, Iâm following about 50 blogs, and a good portion of them arenât very active. So, more or less, Iâm only seeing 5 of you. LOL. My dashboard is basically dead. LIKE OR REBLOG if youâre a writer OR a writing blog. If youâre any kind of artist/creative visionary/cool person, Iâd like to connect.
Iâm a writer with a writing blog. :-)
I'm all of those things!!!!!!
You know whatâs frustrating? Being a part of a server, chatting happily with people, laughing together, making friendsâŠ
And BAM!
Youâre banned.
You try to message people asking why and they block you.
And you have this sinking, suspicious feeling deep down inside itâs because they asked for certain information and you gave it and they didnât like it. That you poured your heart out and they rejected it, said youâre gross and disgusting. That no one should enjoy those types of literature, that youâre wrong and should go die because of it.
And now, because Discord wonât let you message people without being a part of mutual servers, I canât talk to ANY of the friends I made while there. I messaged the main blog asking what happened but Iâm afraid theyâll block me too.
So if you actually DO like me and would like to chat, send me a PM here and I can give you my Discord and maybe it will let us chat.
Iâm hurt. Iâm upset. Iâm confused. No warning, no questions, no *answers* and no way to defend myself or know WHY. I just⊠ugh. I donât feel too good right now.
You know what's frustrating? Being a part of a server, chatting happily with people, laughing together, making friends... And BAM! You're banned. You try to message people asking why and they block you. And you have this sinking, suspicious feeling deep down inside it's because they asked for certain information and you gave it and they didn't like it. That you poured your heart out and they rejected it, said you're gross and disgusting. That no one should enjoy those types of literature, that you're wrong and should go die because of it. And now, because Discord won't let you message people without being a part of mutual servers, I can't talk to ANY of the friends I made while there. I messaged the main blog asking what happened but I'm afraid they'll block me too. So if you actually DO like me and would like to chat, send me a PM here and I can give you my Discord and maybe it will let us chat. I'm hurt. I'm upset. I'm confused. No warning, no questions, no *answers* and no way to defend myself or know WHY. I just... ugh. I don't feel too good right now.
I'm Back!
So hey-lo my hopefully loyal followers! I'm back after a hiatus and hopefully going to be churning out some chapters... eventually. I now live in the cab of a truck and it is soooo awesome. I love my truck cave. Would live in a van but I had an extended cab and no money FOR a van so.... Also working on getting my computer up and running which will mean faster chapters cuz I won't be typing on my phone! Internet is still kind of spotty ;_; Basically was super busy with work, moving into a new... place? Vehicle area? And also having no computer. So yay! Planning on getting some backlog finished :3
This so both beautiful and sadâŠ. oh my god.Â
Batman The Animated Series is back! âŠin some way at least.
First still from the upcoming movie âBatman and Harley Quinnâ
wait what
I choose to believe that Nightwing and Harley Quinn are going on a date, and Batman is chaperoning.
I choose to believe that Nightwing and Batman are going on a date, and Harley Quinn is chaperoning.
I choose to believe Nightwing and Batman are try to go on patrol and Harley Quinn is narrating it like itâs a date
can we get @unpretty to caption this image
For a long moment, the inside of the car was silent except for the sound of a burger wrapper.
Nightwing started to take a bite, then stopped with a sigh.
Even he could not pretend that this was normal.
âWhat is she doing here?â he asked finally.
âIâm helpinâ,â Harley said, somehow managing to say it quite clearly even though her lips never touched. Her lipstick was a dark matte, and getting a dark matte just right required surgical precision that she could somehow still manage in the back of a moving vehicle without any lights.
âWhy, though.â
âIn case he needs backup!â
âThatâs why Iâm here,â Nightwing pointed out.
âSure,â she said, somehow making the word sound entirely composed of vowels, snapping her compact shut. âNow.â
Nightwing sighed. âI was ten minutes late.â He looked to Batman, who said nothing. âTen minutes.â
âA lot can happen in ten minutes,â Harley said, primly putting her things back into her bag.
Batman still said nothing, but tilted his head just enough and just long enough that Nightwing knew he was looking pointedly at his fries.
âIâm not apologizing for the fact that I wanted real food,â Nightwing said. He turned around in his seat to look back at Harley. âHave you seen his little protein shake things?
âTheyâre his robo-fuel!â
âYou know heâs not a robot.â
âYeah, I know that.â
Harley and Nightwing both looked at Batman. Nightwing turned back around in his seat. âI had a busy day, I didnât have time to eat, so I got some food. It was a totally reasonable thing to do.â
âWhatâs even your day job?â Harley wondered. âY'ainât gettinâ paid for this.â Then she gasped. âAre ya in college now?â she asked, delighted.
âHe dropped out,â Batman said before Nightwing could respond.
Harley gasped even louder.
âNow, wait a minute,â Nightwing began, before Harley interrupted by cuffing his ear. âOw! Harley!â
âThatâs Dr. Harley to you, young man.â She looked to Batman. âTell him he has to go back to school.â
âHeâs an adult now,â Batman said. âHe can do what he wants.â
Harley narrowed her eyes at Nightwing. âIs that why ya had that mullet?â
âIt was not a mulletââ
âIs this what youthful rebellion looks like when a dork tries to do it?â
âYouâd know better than I would,â Batman said.
âHey!â She backhanded his shoulder, then sighed. âI guess I did go to med school.â She reached over Nightwingâs shoulder to grab a fry. âBut I also did a lot of coke.â
Nightwing, mid-sip, choked on his iced tea.
âA looooot of coke,â she added, chewing. âIn retrospect I was prolly self-medicatinâ.â She put a hand on Nightwingâs shoulder. âNot that that makes it okay,â she said. âListen to your Aunt Harley. Donât do coke.â
âYes, Dr. Aunt Harley.â
âIf ya needed money for school, ya coulda called me,â she said.
âYou donât have any money.â
âI can get money.â She paused. âAnâ Iâm real good at gettinâ scholarships.â
âYouâre a genius,â Batman reminded her, managing to make the statement of fact sound not at all complimentary.
âThat did help,â she agreed.
âWhy is she actually here?â Nightwing asked.
âShe has some leads on Crane.â
âIâve been tryinâ to find him so we can have a nice talk about medical ethics,â she said with a grin.
âShe wants to cave his skull in with a giant hammer,â Batman corrected.
âAnâ youâre gonna try anâ stop me!â she agreed, still just as cheerful. She leaned forward to drape her arms over the headrest of both front seats. âWeâre gonna have so much fun.â
my summons worked!!!!!!
Mustâve rolled a nat 20.
Mental Illness in the Horror Genre
Something that pissed me off the other day.
Talking to a guy who knows my parents but doesnât know me very well, and he tells me that his friend (indeed, a very nice and talented actor) recently put out a horror movie. And Iâm interested until I hear the words âSo itâs about this guy with OCDâŠâ and at that point my mom and I give each other a sidelong glance.
I say, âI donât know, because I have OCD and itâs a pretty serious thing for me.â
To which he follows up, âOh, you donât have it like this guy! Youâre totally functional!â
Okay, dude. Yes, I am standing before you in a fancy club, dressed nice, and looking relatively balanced. But you do not know me. You do not know OCD.
You do not know that I have been non-functional, and that in order to maintain my current balance of sanity, I take daily medication and see a weekly therapist, and I still have downward spirals and panic attacks.
OCD can add to a story, for sure. The Aviator is a great exampleâalbeit, it was on the voyeuristic side, kind of âcheck out what a weirdo this guy really isâ, but his condition was portrayed in a realistic and *sympathetic* manner, because it focused so hard on his anxiety and entrapment.
I donât need a horror movie about my disorder for a couple reasons. 1. I already live the horror movie that is OCD. 2. Just like people with psychosis, schizophrenia/schizotypal disorders, dissociative identity disorders, and any other number of mental disorder that makes us act in unusual and yes, sometimes frightening ways, I donât need it to be the hinge for your horror flick, a handy device that makes more people like you scared and misunderstanding of people like me. 3. And for people with the above disorders who may not be diagnosed, they donât need to be told that they are dangerous monsters and cause them to avoid treatment out of fear. (This goes double for people who experience paranoia or delusions as part of their symptoms.)
This post ended up way longer than I meant, but really, truly, hear me out creators:
MENTAL ILLNESS IS A TRAIT AMONG AN INFINITE VARIETY OF PEOPLE. IT IS NOT A CHARACTER FLAW, AND IT IS DEFINITELY A POOR PLOT DEVICE FOR THE HORROR GENRE. YOU CAN DO BETTER.
*Loudly looks @ the movie âSplitâ *
For real can we stop this shit along with having horror movies take place in mental hospitals
But imagine that the protagonist is the one with the OCD.
She is targeted by a serial killer who enjoys toying with people, gaslighting by proxy, and âmaybe Iâm going crazyâ works perfectly on all his victims until this one.
Because she knows the difference. She checks that her door is locked a dozen times before leaving the house, so she knows she didnât leave it open. She unplugs every appliance in the house before she leaves, so she knows she didnât leave the television on. Her clothes have to be organized in a very specific way so she knows that someoneâs been touching them.
Of course, the horror movie aspect comes in when, because she has OCD, nobody believes any of this. Not the police, not her friends and family, nobody. âEverybody just forgets sometimesâ or âItâs just your mind playing tricks on youâ mouthed by people who donât understand that she doesnât EVER forget, that her mind plays tricks on her all the time and this is not like that, this is someone else *doing* it. she has more than enough experience to tell the difference.
When she reports whispers coming from inside the walls, she gets asked if it could just be âin her headâ. No. It canât. She knows what the inside of her head sounds like and itâs nothing like this. But nobody believes that.
She canât leave the house because every time she does, someone comes in and touches and moves her things but nobody believes her. Her family come over to try to âcalm her downâ which is absolutely zero help. It doesnât matter how many traps she sets to prove that someone is in the house, nobody believes she didnât trip them herself. In desperation, she turns to the people in her therapy group. Someone is in my house, moving things, whispering things, and nobody believes me, I need help or Iâm pretty sure heâll kill me.
And they show up, en masse, with improvised weapons and toolboxes, and they search every inch of her house (without making a mess in any way because they totally understand that that would upset her) and when she says the voice comes out of her bedroom wall they start measuring every room and wall and *that* wall might be thick enough for someone to hide inside so they tap on every inch with a rock taped to the end of a broomstick so theyâre not in armâs reach and that bit sounds hollow and that and that and that but *that* bit doesnât and the serial killer bursts out to find a) way more people than he expected and b) OCD protagonist wielding a butcher knife.
When heâs doubled up on the floor screaming and clutching his bleeding abdomen they call an ambulance because they are not murderers unlike this guy and he gets pulled out and taken to hospital and her friends from therapy offer her a scrupulously clean spare bedroom and help cleaning up the blood and fixing the place up again and anything else she needs.
Six months later sheâs back at work, and hears a receptionist talking about how her ex is being kind of creepy and sheâs sure heâs sneaking into the house when sheâs not home but her friends think sheâs totally overreacting and maybe sheâs just crazy -
OCD protagonist tells her that no, she is not crazy, and anyone who discounts her fears like that is not a friend. If she doesnât feel safe, she needs to take steps to protect herself. Would she like to know how to rig some little traps to let her know for sure if someoneâs been in the house? OCD protagonist knows some good ones.
Traps? Would they, like, hurt him?
They could. Would she like them to?
Yes please.
@gloriousmonsters
:D this is EXTREMELY relevant to my interests and now Iâm mad this movie doesnât exist because so few promising horror movies are coming out this year
This seems like a good place to mention that I especially love narratives where the MCâs mental illness or neurodivergence helps them out (aside from the âwhite autistic man is good at mathâ trope because thatâs been done to death) in situations that neurotypical people would have a hard time with - this reminds me of what I tried to do with Sally in The Ninth Daughter, where thereâs a monster that specializes in manipulating reality without people noticing - but Sallyâs schizophrenic and used to checking and re-checking the world around her for reality, so it doesnât work on her.
I'd like to watch that movie but someone wrote a book like that??? *saves*
2013ćčŽ2æäœ
goddamn
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@alli5sosfam
my year 8Â students had to do a budgeting activity pretending they were living out of home on $2000 a month and I find this written on there help I canât fucking breathe
We had to do this and I was partnered with a boy whose parents are a scientist and a doctor. My family spawned the book: Top Drawer Villain - autobiography of a London criminal.
First of all, we had to choose where we would shop. He wanted to buy from Booths. âWe are not buying from Booths,â I snapped. âGet on Asdaâs website right now.â His face froze.
âA-Asda?â he whispered. âBut thatâs where⊠The Lower Classes shop.â
This was a good start.
We then had to decide on a menu. We started on breakfast. âToast,â he said.
âToast,â I said. âGreat. Look, Asda has its own wholemealââ
âWarburtonâs thick-slice white bread. Nothing else. With olive oil.â
âYou WHAT?â I choked. âYou have olive oil, on your toast, in the morning?â
He frowned. âWho doesnât?â
âOkay,â I said, âbut what will the children eat?â
He gaped at me. âThe children? We have children?â
We continued. All was well until it came to what we would have on our sandwiches. We even sorted out the childrenâs lunch - they, of course, would get free school meals. âYes,â he agreed; âif we canât even afford Bertolli then they can get school meals on the government.â
He asked what dressing we should have on our ham. âNuh-uh,â I said. âCanât have ham. Iâm vegetarian.â
âBut Iâm not.â
âYes, but weâre married and we can only afford one sandwich filler so it has to be vegeââ
âWeâre married!?â
âOf course weâre married! Youâre devout Christian - how do you think I convinced you to have children?â
He shook his head, frowning. âWell I want ham. Youâll have to put back the washing powder - I need ham on my sandwiches.â
We continued. Finally, it was dinner. âOkay,â he said, clearly thinking hard; âfor dinner, we can have⊠Chicken nuggets and⊠Beans?â
âVegetarian.â
âVegetarian nuggets then. And beans.â
âWe need vegetables. The children have to have a balanced diet.â
âYou and your children!â he yelled, and the whole class looked around.
âTheyâre your children too!â I screamed back.
He leapt to his feet, shaking his head and looking distraught. âI donât believe it - I donât believe you! I wouldnât have your children!â
âPlease,â I cried, standing up also. âDonâtââ
âI want a divorce!â
And he walked out of the classroom.
The teacher stood up and stared between me and the door through which he had vanished. âIâm sorry,â I whispered, âbut we couldnât do it any more. There were just too many differences - I canât live with someone who thinks champagne is a budget.â
I canât wait to see this guy when he gets to university.
READ THE WHOLE THING
I AM DYING
bushime
my year 8Â students had to do a budgeting activity pretending they were living out of home on $2000 a month and I find this written on there help I canât fucking breathe
We had to do this and I was partnered with a boy whose parents are a scientist and a doctor. My family spawned the book: Top Drawer Villain - autobiography of a London criminal.
First of all, we had to choose where we would shop. He wanted to buy from Booths. âWe are not buying from Booths,â I snapped. âGet on Asdaâs website right now.â His face froze.
âA-Asda?â he whispered. âBut thatâs where⊠The Lower Classes shop.â
This was a good start.
We then had to decide on a menu. We started on breakfast. âToast,â he said.
âToast,â I said. âGreat. Look, Asda has its own wholemealââ
âWarburtonâs thick-slice white bread. Nothing else. With olive oil.â
âYou WHAT?â I choked. âYou have olive oil, on your toast, in the morning?â
He frowned. âWho doesnât?â
âOkay,â I said, âbut what will the children eat?â
He gaped at me. âThe children? We have children?â
We continued. All was well until it came to what we would have on our sandwiches. We even sorted out the childrenâs lunch - they, of course, would get free school meals. âYes,â he agreed; âif we canât even afford Bertolli then they can get school meals on the government.â
He asked what dressing we should have on our ham. âNuh-uh,â I said. âCanât have ham. Iâm vegetarian.â
âBut Iâm not.â
âYes, but weâre married and we can only afford one sandwich filler so it has to be vegeââ
âWeâre married!?â
âOf course weâre married! Youâre devout Christian - how do you think I convinced you to have children?â
He shook his head, frowning. âWell I want ham. Youâll have to put back the washing powder - I need ham on my sandwiches.â
We continued. Finally, it was dinner. âOkay,â he said, clearly thinking hard; âfor dinner, we can have⊠Chicken nuggets and⊠Beans?â
âVegetarian.â
âVegetarian nuggets then. And beans.â
âWe need vegetables. The children have to have a balanced diet.â
âYou and your children!â he yelled, and the whole class looked around.
âTheyâre your children too!â I screamed back.
He leapt to his feet, shaking his head and looking distraught. âI donât believe it - I donât believe you! I wouldnât have your children!â
âPlease,â I cried, standing up also. âDonâtââ
âI want a divorce!â
And he walked out of the classroom.
The teacher stood up and stared between me and the door through which he had vanished. âIâm sorry,â I whispered, âbut we couldnât do it any more. There were just too many differences - I canât live with someone who thinks champagne is a budget.â
I canât wait to see this guy when he gets to university.
READ THE WHOLE THING
I AM DYING
bushime
new genre concept: soft apocalypse
the world as we know it has ended and mother nature starts taking back whatâs hers. there are no zombies or cannibals or murderous bandits. the most valued members of the community are those who know how to garden and farm, sew and weave, treat wounds, work wood or build with bricks, cook from scratch.Â
people bond together to begin rebuilding instead of killing each other. everyone teaches each other whatever they do know and works together to figure out the stuff none of them know. books become incredibly valued resources because theyâre often the only way to learn critical information. if someone is elderly, disabled, or otherwise unable to work at the same level as most of the community, theyâre taken care of by the others, not told any sort of âsurvival of the fittestâ bs.
as the generations ware on, communities begin expanding into small cities. some of the settlements even find ways to repurpose solar or wind power on a small scale and have electricity in some of their buildings. storytellers wander the countryside telling tales of the old world in return for some hot stew or a place to rest for the night, and the mythos of the new world start to incorporate elements of the past. the only thing that remains constant is that humans survive, and they do it by working together.
MAY I INTRODUCE YOU TO YOKOHAMA KAIDASHI KIKOU
A CHILL AF MANGA ABOUT A ROBOT LADY RUNNING A COFFEE SHOP DURING THE DECLINE OF HUMANITY WHERE EVERYONE IS SUPER NICE AND HAPPY AND ITâS JUST REALLY LOVELY
IT IS LEGIT ONE OF MY FAVORITE SCI-FI WORKS AND A HUGE INSPIRATION FOR MY WRITING
IF YOU LIKE A QUIET END OF THE WORLD PLEASE CHECK IT OUT BLESS